[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"doc-seo-516353-105":3,"detail-sidebar-cat-0-en-105":80,"doc-detail-516353-en":130},{"code":4,"msg":5,"data":6},0,"ok",{"site_id":7,"language":8,"slug":9,"title":10,"keywords":11,"description":12,"schema_data":13,"social_meta":73,"head_meta":75,"extra_data":77,"updated_unix":79},105,"en","the-critical-role-of-new-media-in-transforming-gamers-into-remixers-chapter-22-introduction","THE CRITICAL ROLE OF NEW MEDIA IN TRANSFORMING GAMERS INTO REMIXERS - Chapter 22 - Introduction","","Examines how tabletop role-playing games (RPGs) function as remix ecosystems and how digital media reshapes remix culture in the twenty-first century. Defines RPGs as participatory story-creation systems with quantified rules, then distinguishes remix at the level of story and at the level of rules. Uses examples from Dungeons and Dragons and other games to show mixing across storyworlds and mechanics. Highlights contemporary remix practices through online role-playing groups broadcast via Critical Role and considers how such modeling may help bridge political divisions.",{"@graph":14,"@context":72},[15,34,55],{"@type":16,"itemListElement":17},"BreadcrumbList",[18,23,27,31],{"item":19,"name":20,"@type":21,"position":22},"https://docshare.wps.com","Home","ListItem",1,{"item":24,"name":25,"@type":21,"position":26},"https://docshare.wps.com/document/","Document",2,{"item":28,"name":29,"@type":21,"position":30},"https://docshare.wps.com/document/comic/","Comic",3,{"item":32,"name":10,"@type":21,"position":33},"https://docshare.wps.com/document/the-critical-role-of-new-media-in-transforming-gamers-into-remixers-chapter-22-introduction/516353/",4,{"url":32,"name":10,"@type":35,"image":36,"author":41,"headline":10,"publisher":44,"fileFormat":47,"inLanguage":8,"description":12,"dateModified":48,"datePublished":49,"encodingFormat":47,"isAccessibleForFree":50,"interactionStatistic":51},"DigitalDocument",{"url":37,"@type":38,"width":39,"height":40},"https://docshare.wps.com/thumbnails/the-critical-role-of-new-media-in-transforming-gamers-into-remixers-chapter-22-introduction/516353.png","ImageObject",300,407,{"name":42,"@type":43},"Rizky","Person",{"url":19,"name":45,"@type":46},"DocShare","Organization","application/pdf","2026-10-16","2026-10-06",true,{"@type":52,"interactionType":53,"userInteractionCount":22},"InteractionCounter",{"@type":54},"ViewAction",{"@type":56,"mainEntity":57},"FAQPage",[58,64,68],{"name":59,"@type":60,"acceptedAnswer":61},"How does the chapter define role-playing games as remix activity?","Question",{"text":62,"@type":63},"It describes RPGs as episodic, participatory story-creation systems with quantified rules, making both story elements and rule systems targets for remix.","Answer",{"name":65,"@type":60,"acceptedAnswer":66},"What are the two main dimensions of remix discussed?",{"text":67,"@type":63},"The chapter distinguishes remix on the level of story and remix on the level of rules, each involving different player and game-master practices.",{"name":69,"@type":60,"acceptedAnswer":70},"How does the chapter connect new media to contemporary remix culture?",{"text":71,"@type":63},"It argues that tabletop RPG resurgence and their expansion into new media redefine remix culture, illustrated through online role-playing groups broadcast as Critical Role.","https://schema.org",{"og:url":32,"og:type":74,"og:title":10,"og:site_name":45,"og:description":12},"article",{"robots":76,"canonical":32},"index,follow",{"doc_id":78,"site_id":7},516353,1792186762,{"code":4,"msg":81,"data":82},"success",[83,87,91,95,99,104,109,114,119,122,126],{"id":22,"doc_module":4,"doc_module_name":25,"category_name":84,"show_sort_weight":85,"slug":86},"Story & Novel",90,"story-novel",{"id":26,"doc_module":4,"doc_module_name":25,"category_name":88,"show_sort_weight":89,"slug":90},"Literature",80,"literature",{"id":33,"doc_module":4,"doc_module_name":25,"category_name":92,"show_sort_weight":93,"slug":94},"Exam",70,"exam",{"id":96,"doc_module":4,"doc_module_name":25,"category_name":29,"show_sort_weight":97,"slug":98},5,60,"comic",{"id":100,"doc_module":4,"doc_module_name":25,"category_name":101,"show_sort_weight":102,"slug":103},6,"Technology",50,"technology",{"id":105,"doc_module":4,"doc_module_name":25,"category_name":106,"show_sort_weight":107,"slug":108},7,"Healthcare",40,"healthcare",{"id":110,"doc_module":4,"doc_module_name":25,"category_name":111,"show_sort_weight":112,"slug":113},8,"Research & Report",30,"research-report",{"id":115,"doc_module":4,"doc_module_name":25,"category_name":116,"show_sort_weight":117,"slug":118},9,"Religion & Spirituality",20,"religion-spirituality",{"id":117,"doc_module":4,"doc_module_name":25,"category_name":120,"show_sort_weight":117,"slug":121},"World Cup","world-cup",{"id":123,"doc_module":4,"doc_module_name":25,"category_name":124,"show_sort_weight":123,"slug":125},10,"Lifestyle","lifestyle",{"id":127,"doc_module":4,"doc_module_name":25,"category_name":128,"show_sort_weight":96,"slug":129},19,"General","general",{"code":4,"msg":81,"data":131},{"doc_id":78,"user_id":132,"nickname":42,"user_avatar":133,"doc_module":4,"category_id":96,"category_name":29,"doc_title":10,"doc_description":12,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":22,"is_deleted":4,"is_public":22,"is_downloadable":22,"audit_status":22,"page_count":139,"language":140,"language_code":8,"site_id":7,"html_lang":8,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":12,"update_tm":144,"read_time":100},962085564807,"https://ap-avatar.wpscdn.com/davatar_6f874abed73319feea01a86fa6f0fab8","22  \nTHE CRITICAL ROLE OF NEW MEDIA IN TRANSFORMING GAMERS INTO REMIXERS  \nLisa Horton and David Beard  \nIn the spring of 2012, the two of us gathered around a table with five other friends to embark on a strange and compelling adventure together. Our group still gathers regularly  \nand our adventures have become legend, at least in our minds. In fact, of the seven of us, six are still playing and we have added an additional four players to our group. The resurgence of tabletop Role-playing Games (RPGs), and their explosion into new media, which we have participated in and enjoyed, invites us to consider their place in redefining remix culture in the twenty-first century. In this chapter we reify our observations as we:  \n1. Articulate the nature of RPGs as a site of remix.  \n2. Articulate the ways that tabletop role-players remix use the tools of the digital humanities. Access to diverse materials through digital technology turns role-playing gamers, not only by scholars, but also by everyday people, into remixers.  \n3. Demonstrate contemporary remix through narrative inquiry into the practices of a successful group of online role-playing gamers, broadcast on Twitch as Critical Role.  \nAs such, this chapter widens our sense of who engages in remix, who uses the tools of digital humanities for remix, and how such practices are modeled and disseminated in digital environments.  \nAs scholars and optimists, we hold out hope that remix, as modeled by Critical Role, will offer us a way to bridge political divisions, to collaborate in policy in the real world in the same way that we collaborate in our fantasy medieval campaigns.  \nRemixing in the Role-Playing Game in the Pen-and-Paper Era  \nTabletop RPGs have long been a site for remixes. Mackay defines RPGs as “an episodic and participatory story-creation system that includes a set of quantified rules that assist a group of players and a gamemaster in determining how their fictional  \n325  \nBK-TandF-NAVAS_ 9780367361426-200351-Chp22 . indd  \n325  \n30/11/20  \n10:22 AM  \nLISA HORTON AND DAvID BEARD  \ncharacters’ spontaneous interactions are resolved.”1 This definition includes everything from Dungeons and Dragons (D&D) to Live Action role-playing to online role-playing platforms like Roll20, a “virtual tabletop” for geographically remote role-players.  \nMackay’s definition highlights two dimensions essential for reconceiving role-playing as a remix activity. Role-playing gamers (the designers, players, and Game Master [GM]) have engaged remix on two levels: Remix on the level of story and on the level of rules.  \nAt the level of story, role-playing games have long been syntheses of different storyworlds. For example, the early Deities and Demigods2 volumes of Dungeons and Dragons remixed the worlds of Middle Earth and Melniboné, the mythical pantheonsof the Greeks and the Norse gods, and the fictional monstrosities of Cthulhu into a single landscape of imagination.3 As the Dungeons and Dragons game expanded, it engulfed ninjas and shoguns (in Oriental Adventures),4 gothic horror (in Ravenloft),5 and more.  \nOther games remixed story elements. Call of Cthulhu integrated aboriginal mythology alongside Lovecraftian horror.6 Pathfinder, which began as an alternative to D&D for medieval fantasy, developed a Pure Steam supplement to bring Steampunk into their game.7  \nPlayer creativity also became a resource for remixes. Greyhawk, one of the earliest campaign settings for Dungeons and Dragons, was born of player imagination. At tabletops across the country, players create complex backstories, while Dungeon Masters (DMs) are creating complex worlds, which become material for remix.  \nAt the level of rules, players and game masters import rules from other games and“home brew” rules, bringing different rule systems into a remixed whole. Editions of Dungeons and Dragons (a relatively light, heroic fantasy game) published after Call of Cthulhu (a relatively dark, horrific game) introduced “sani","cbCaiu5AfYv1vrpS","https://ap.wps.com/l/cbCaiu5AfYv1vrpS","pdf",1122513,17,"English","# THE CRITICAL ROLE OF NEW MEDIA IN TRANSFORMING GAMERS INTO REMIXERS\n## Remixing in the Role-Playing Game in the Pen-and-Paper Era","[{\"question\":\"How does the chapter define role-playing games as remix activity?\",\"answer\":\"It describes RPGs as episodic, participatory story-creation systems with quantified rules, making both story elements and rule systems targets for remix.\"},{\"question\":\"What are the two main dimensions of remix discussed?\",\"answer\":\"The chapter distinguishes remix on the level of story and remix on the level of rules, each involving different player and game-master practices.\"},{\"question\":\"How does the chapter connect new media to contemporary remix culture?\",\"answer\":\"It argues that tabletop RPG resurgence and their expansion into new media redefine remix culture, illustrated through online role-playing groups broadcast as Critical Role.\"}]","THE CRITICAL ROLE OF NEW MEDIA IN TRANSFORMING GAMERS INTO REMIXERS - Chapter 22 - Introduction | PDF",1791330246]